Vielmetter Los Angeles congratulates Nicole Eisenman on her inclusion in the 58th Venice Biennale. The artist has been represented by the gallery since 2007 and will present works in the central exhibition May You Live In Interesting Times, curated by Ralph Rugoff. Works include Dark Light (2017) and Heading Down River on the USS J-Bone of an Ass (2017).

Nicole Eisenman (b. 1965) was a 2018 recipient of the Suzanne Deal Booth/FLAG Art Foundation prize, a 2015 recipient of the MacArthur Foundation “Genius Grant” and the winner of the 2013 Carnegie Prize. Recent solo exhibitions include "Baden Baden Baden," Staatliche Kunsthalle Baden-Baden; “Dark Light,” “Now or Never,” Secession, Vienna, Austria; “Al-ugh-ories,” New Museum, New York; and “Dear Nemesis: Nicole Eisenman 1993 – 2013,” Contemporary Art Museum St. Louis, ICA Philadelphia, and the Museum of Contemporary Art, San Diego, CA. A suite of new sculptures, Sketch for a Fountain (2017), was prominently featured in the 2017 Münster Skulptur Projekt. Eisenman’s work has been included in numerous group exhibitions including the 2016 Biennale de Montreal; “American is Hard to See,” Whitney Museum of American Art; “Painting 2.0: Expression in the information Age,” Museum Brandhorst, Munich; “The Forever Now: Contemporary Painting in an Atemporal World,” Museum of Modern Art, New York; Manifesta 10, the State Hermitage Museum, St. Petersburg; the 2013 Carnegie International; and the 2012 Whitney Biennial. She is participating in the 2019 Whitney Biennial.

Vielmetter Los Angeles is pleased to announce its representation of Deborah Roberts. The artist's inaugural exhibition with the gallery will open in April 2019 at our downtown location.

Deborah Roberts (b. 1962) lives and works in Austin, TX. Roberts makes collages using photographs, magazine clippings, and images from the internet, with a unique visual language evoking African-American womanhood to explore the subjects of beauty, identity and politics.

Roberts is the recipient of The Anonymous Was a Woman award was presented to Roberts in 2018. Forthcoming group exhibitions include ‘Cut and Paste: 400 Years of Collage', Scottish National Gallery of Modern Art, Edinburgh, Scotland, UK (2019) and ‘Plumb Line: Charles White and the Contemporary', Californian African American Museum (CAAM), Los Angeles, USA (2019). Selected exhibitions include: 'Deborah Roberts: The Evolution of Mimi', Spelman Museum, Atlanta, Georgia, USA (2018); 'Reclamation! Pan-African from the Beth Rudin DeWoody Collection', Taubman Museum of Art, Roanoke, Virginia, USA (2018); 'Talisman In The Age Of Difference', Stephen Friedman Gallery, London, UK (2018); 'Legacy of the Cool: A Tribute to Barkley L. Hendricks', MassArt, Boston, Massachusetts, USA (2018);' Constructing Identity in America (1766-2017)', Montclair Art Museum, New Jersey, USA; ‘Fictions, Studio Museum of Harlem', New York, New York, USA (2017); 'I know why the caged bird sings', Carver Museum, Austin, Texas, USA (2016); 'Gently Fried', MACC, Austin, Texas, USA (2015); 'The House on Mango Street', National Mexican American Museum, Chicago, Illinois, USA (2015).

Roberts' work is in the collections of Whitney Museum of American Art, New York; Museum of Modern Art, New York; Brooklyn Museum, New York; The Studio Museum in Harlem, New York; 21c Museum Hotels, Louisville, Kentucky; The Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, New York; Block Museum of Art, Evanston, Illinois; Pérez Art Museum Miami (PAMM), Miami, Florida; LACMA, Los Angeles, California; Montclair Art Museum, Montclair, New Jersey; Blanton Museum of Art, Austin, Texas; and Pizzuti Collection, Columbus, Ohio. She was a recipient of the Pollock-Krasner Grant in 2016.

Curated by Jenny Gheith (Assistant Curator of Painting and Sculpture at SFMOMA), New Work: Rodney McMillian (February 9 – June 9, 2019) at the San Francisco Museum of Modern Art marks the artist's first solo museum presentation on the West Coast. In this exhibition, McMillian brings together his long-standing interest in the representation of the American landscape with an exploration of home as a place and a state of mind.

New Work: Rodney McMillian features a painted abstract panorama spanning the entirety of the gallery, paired with a soundscape interweaving iconic 1980s songs performed by McMillian and the voice of a social advocate proposing radically new language and polices around the condition of homelessness. This immersive installation questions the political systems that promise freedom and equality for all, and highlights the power of the individual to affect hope and create change.

Mary Kelly's site-specific project for Desert X titled Peace is the Only Shelter returns to the Cold War intervention of Women Strike for Peach, a group formed in 1961 to protest against nuclear weapons testing in the Mojave Desert.

The project description reads: A long period of research led Mary Kelly to repurpose Cold War–era peace activism, in this case the anti-nuclear Women Strike for Peace (WSP), formed in 1961. This feminist group initiated lobbies, petitions, vigils, and demonstrations against nuclear testing. Between 1945 and 1992, the United States conducted more than 1,000 nuclear tests, mostly in the desert Southwest. The artist notes, “Although the radical peace initiatives of women in the early post-war period have been largely forgotten, the action-oriented interventions of the Women Strike for Peace set a precedent for the non-hierarchical politics of second-wave feminism, as well as the many prominent protest movements currently underway.” This counter-history takes on renewed significance amid today’s escalated tensions worldwide. A central feature of Kelly’s similarly public intervention is the so-called Doomsday Clock, whose hands tick closer to midnight as militarism rises and humanity inches closer to self-destruction. The allegory in Peace is the Only Shelter is reshaped as a bus shelter, itself a representative timetable. The intervention in public space calls attention to vestiges of the Cold War in our contemporary context, employing slogans from the WSP, where normally there would be advertisements, and cartographies of military expansion in the California desert, where there would be routes and schedules.

Locations:

531 S. Palm Canyon

33.815465, -116.546812

457-467 S. Indian Canyon Drive

33.816646, -116.545421

Southwest corner of Ramon Road and S. Indian Canyon Drive.

33.815720, -116.545957

Susanne Vielmetter Los Angeles Projects is pleased to announce the opening of our new exhibition space in downtown Los Angeles. Spanning the entire length of 1700 South Santa Fe Avenue, the 11,000 sf warehouse will host the gallery’s most ambitiously scaled exhibitions and provides additional space for both a screening and reading room. It will be used as a second exhibition space in addition to our Culver City gallery. The gallery design was developed in collaboration with TOLO Architecture and Anderson Studio.

The gallery will open during Frieze LA with a preview on Friday, February 15, 2019, and will open to the public on Saturday, February 16. The inaugural exhibition will feature new and historic works by artists from the gallery’s roster: Edgar Arceneaux, Sadie Benning, Andrea Bowers, Kim Dingle, Sean Duffy, Nicole Eisenman, Charles Gaines, Karl Haendel, Stanya Kahn, Mary Kelly, Rodney McMillian, Wangechi Mutu, Ruben Ochoa, Pope.L, Amy Sillman, and Nicola Tyson. The inaugural exhibition will be followed by solo exhibitions of new work by Arlene Shechet, Deborah Roberts, Sam Levi Jones, Genevieve Gaignard, Andrea Bowers, Shana Lutker, and Liz Glynn.

The downtown gallery is located at 1700 S Santa Fe Avenue, just south of the 10 freeway. Limited parking is available on the north parking lot adjacent to the building. Visitors to the opening are encouraged to use ride sharing services.

Vielmetter Los Angeles is pleased to announce its representation of Paul Mpagi Sepuya. The artist's inaugural exhibition with the gallery will open in 2020.

Paul Mpagi Sepuya (b. 1982) is a Los Angeles-based artist working in photography. His work focuses on the production of portraiture in the artist’s studio as a site of homoerotic social relations, and the potential of blackness in the space of the “dark room.” His work emerged within the queer zine scene of the 2000s, he became known for his 2005 ¬– 2007 zine series “SHOOT” and first monograph “Beloved Object & Amorous Subject, Revisited” (2008).

Most recently his work has been included in “Being: New Photography 2018” at the Museum of Modern Art, solo museum exhibition “Double Enclosure” at FOAM Amsterdam and “Trigger: Gender as a Tool and a Weapon” at the New Museum. Other solo exhibitions include “Dark Room” at Document, Chicago (2018), “Dark Room” at team (bungalow) (2017), Los Angeles and “Figures, Grounds and Studies” at Yancey Richardson Gallery, New York City (2017). His first museum survey in the United States will open May 2019 at CAM St Louis. Sepuya’s work is in the collections of The Museum of Modern Art, the Whitney and Guggenheim Museums, The Studio Museum in Harlem and MOCA Los Angeles, among others.

Vielmetter Los Angeles is pleased to announce its representation of Genevieve Gaignard. The artist's inaugural exhibition with the gallery will open in June 2019.

Genevieve Gaignard (b. 1981) lives and works in Los Angeles, CA. Her work focuses on installation, photographic self-portraiture, and sculpture to explore race, femininity, class — and their various intersections. The daughter of a black father and white mother, Gaignard’s youth was marked by a strong sense of invisibility. Was her family white enough to be white? Black enough to be black? Gaignard interrogates notions of “passing” in an effort to address these questions. She positions her own female body as the chief site of exploration—challenging viewers to navigate the powers and anxieties of intersectional identity.

Influenced by the soulful sounds of Billy Stewart, the kitschy aesthetic of John Waters and the provocative artifice of drag culture, Gaignard uses low-brow pop sensibilities to craft dynamic visual narratives. From the identity performance ritualized in ‘‘selfie” culture to the gender performance of femininity, Gaignard blends humor, persona and popular culture to reveal the ways in which the meeting and mixing of contrasting realities can feel much like displacement.

Gaignard received her BFA in Photography from Massachusetts College of Art and Design, Boston, MA, in 2007, and her MFA in Photography from Yale University, New Haven, CT, in 2014. She has been the subject of solo exhibitions including Counterfeit Currency, The FLAG Art Foundation, New York (2018); Hidden Fences, Praz-Delavallade, Paris, France (2018); Prospect 4: The Lotus in Spite of the Swamp, curated by Trevor Schoonmaker, New Orleans, LA (2017); In Passing, Houston Center for Photography, Houston, TX (2017); The Powder Room, Shulamit Nazarian, Los Angeles, CA (2017); Smell the Roses, California African American Museum, Los Angeles, CA (2016); among others. Her work has been included in numerous group exhibitions, including the Daegu Biennial, curated by Ami Barak, Daegu, South Korea (2018); Talisman in the Age of Difference, curated by Yinka Shonibare MBE, Stephen Friedman Gallery, London, UK (2018); Fictions, curated by Connie H. Choi and Hallie Ringle, The Studio Museum in Harlem, New York, NY (2017); Face to Face: Los Angeles Collects Portraiture, curated by Naima J. Keith and Diana Nawi, California African American Museum, Los Angeles, CA (2017); among others. Gaignard has been the subject of articles and reviews in publications including Artforum, Artsy, Cultured Magazine, The New Yorker, The New York Times, W Magazine, Interview, The Los Angeles Times, and VICE, among others. Select public collections include Studio Museum in Harlem, NY; California African American Museum, CA; Pérez Art Museum Miami, FL; The Nasher Museum of Art, Durham, NC; The FLAG Art Foundation, NY; and the San Jose Museum of Art, CA.

Organized by Shamim M. Momin (Senior Curator at the Henry Art Gallery), Edgar Arceneaux: Library of Black Lies (November 17, 2018 – June 2, 2019), comprised of an architectural installation, posits that there is no singular truth to history and that even well-intentioned narratives can lock things down to one agenda or cause. Arceneaux argues that the true nature of people and events, which is insistently messy, chaotic, and rhizomatic, is often whitewashed and sterilized.

Structured to recall a labyrinth, the installation contains stacks of books, some readable and some obscured by a crust of crystalline sugar. The titles evolve like a game of telephone, slightly misheard and misrepresented, documenting tomes that figured strongly in Arceneaux’s intellectual history (e.g. Birth of a Nation) then evolving into invented or unrelated ones (Birth of a Night, Nation Goodnight, Goodnight Moon).

Library of Black Lies was originally commissioned by LAND (Los Angeles Nomadic Division) and first presented in Paris in Wasteland: Art from Los Angeles at the Mona Bismarck American Center and Galerie Thaddaeus Ropac Paris Pantin in 2016. Lead support is provided by 4Culture. This exhibition is supported by the Terra Foundation for American Art on behalf of board member Mimi Gardner Gates.

Vielmetter Los Angeles congratulates Pope.L on Instigation, Aspiration, Perspiration, a trio of complementary exhibitions of his work in New York organized by the Museum of Modern Art, the Whitney Museum of American Art and Public Art Fund to occur simultaneously in the fall of 2019.

Through a combination of archival videos, photographs, ephemera, sculptural elements, and live actions, MoMA will present a survey of thirteen early landmark performances, spanning from 1978-2001, that helped define Pope.L's career and are representative of his core concerns. Organized by Stuart Comer, Chief Curator, Department of Media and Performance Art, with Danielle A. Jackson, Curatorial Assistant, Department of Media and Performance Art.

For the Whitney Museum and on the occasion of his receipt of the 2017 Bucksbaum Award, Pope.L expands upon his ongoing exploration and use of water with Choir, a new installation inspired by the fountain, the public arena and John Cage’s conception of music and sound. Organized by Christopher Y. Lew, Nancy and Fred Poses Curator, with Ambika Trasi, curatorial assistant, Whitney Museum of American Art.

Inspired by his provocative, decades-long crawls, Pope.L will unveil his largest and most ambitious crawl to date. Titled Conquest, the project will involve members of the public to explore the potential and power of collective action. Organized by Public Art Fund Director & Chief Curator Nicholas Baume.

Nicole Eisenman's solo exhibition Baden Baden Baden (November 2, 2018 – February 17, 2019) at the Staatliche Kunsthalle Baden-Baden marks the artist's first institutional solo exhibition in Germany.

Since her breakthrough in the New York art scene in the 1990s, American artist Nicole Eisenman (born in 1965 in Verdun, France) has been one of the most significant voices of her generation. Humor and a deep sense of reflection on history, art history, and pop culture define her large-format paintings and drawings. Nicole Eisenman is virtuosic in playing with elements derived from a diversity of periods. She cites Renaissance painting while alluding to modernist trends, accentuating these through her anti-aesthetics and a kind of in-your-face brashness. Meanwhile, she creates an alloy of the political and the private, high art and subculture. From this admixture, fascinating, narrative works emerge with their uniquely idiosyncratic formal and technical rulesets – in whatever her choice medium.

First cherished as the insider tip for the artist’s artist, Eisenman has become one of the greats on the art market. With her spectacular fountain system for the Skulptur Projekte Münster (2017), she also established her name in Germany. For the Staatliche Kunsthalle Baden-Baden, Eisenman’s exhibition primarily focuses on her sculptural work for the first time. On display are more than twenty sculptures from recent years, including twelve new sculptures and paintings created especially for »Baden Baden Baden«. Her preference for texture and the experimental play of different materials and their effects is also visible in Eisenman’s sculptural work: sometimes the bronze surfaces are highly polished; sometimes they appear coarse and dull. At others they even vibrate with color or scintillate with applied fabrics. The physiognomies of the sculptures are nuanced, abstracted or comically distorted. One of the sculptures spits water like an out-of-control fountain, another one puffs and sputters. In addition to the sculptures the exhibition will also showcase paintings, a video work, and a six-part series of wood reliefs by the artist.

A publication produced in collaboration with Verlag der Buchhandlung Walther König Cologne will accompany the show, with texts by Hannah Black and Hendrik Bündge as well as photographs by Ryan McNamara.

Amy Sillman's solo exhibition Landline (September 28, 2018 – January 6, 2019) at the Camden Arts Centre explores the depth and scope of Sillman’s exuberant practice ranging from the political and social to the emotional and psychological in an extraordinary body of work that encompasses gestural drawing, painting, silkscreen print processes, video animation and zines.

Commissioned by the Madison Square Park Conservancy, Full Steam Ahead is Arlene Shechet's first major public art project, which will feature a series of new sculptures in porcelain, wood, and cast iron installed around and within the emptied circular reflecting pool in the north of Madison Square Park in New York.

Arlene Shechet said of the project: My hope has been to reimagine the hardscape of the Park with delight and surprise. New Yorkers rely on the sidewalks, the pavement, and the street as the core of their urban lives. Full Steam Ahead becomes a lively and human amphitheater, softening the hardscape through sculptural intervention evocative of 18th-century garden landscapes.

Arlene Shechet: Full Steam Ahead will be on view September 25, 2018 through April 28, 2019 at Madison Square Park in New York.

Vielmetter Los Angeles congratulates Nicole Eisenman, winner of the 2020 Suzanne Deal Booth/FLAG Art Foundation Prize, which includes a $200,000 cash award, a catalog and a solo exhibition at the Contemporary Austin and at FLAG in New York.

Eisenman was selected by an independent advisory committee made up of renowned curators and art historians from across the U.S., led by Heather Pesanti, Chief Curator & Director of Curatorial Affairs at The Contemporary Austin. This year's advisory committee included Ian Berry, Dayton Director of The Frances Young Tang Teaching Museum and Art Gallery and Professor of Liberal Arts at Skidmore College, Saratoga Springs, NY; Lauren Haynes, Curator, Contemporary Art at Crystal Bridges Museum of American Art, Bentonville, AR; Eungie Joo, Curator of Contemporary Art, San Francisco Museum of Modern Art, San Francisco, CA; Helen Molesworth, critic; and Lilian Tone, Assistant Curator, Department of Painting and Sculpture, The Museum of Modern Art, New York, NY; along with institutional advisor Stephanie Roach, Director of The FLAG Art Foundation.

Vielmetter Los Angeles is pleased to announce its representation of Liz Glynn. The artist's inaugural exhibition with the gallery will open in Fall 2019.

Liz Glynn creates sculpture, large-scale installations, and participatory performances using epic historical narratives and cultural artifacts to contemplate the potential for change in the present tense. Her practice functions as a form of materialist philosophy: activating objects through performance, changing materials to trace shifts in cultural value, and embodying the rise and fall of empires through cycles of actions and sculptural production. Her work explores individual agency and subjectivity within complex superstructures in the face of technological acceleration and an increasingly abstract economy.

Liz Glynn (b. 1981, Boston, MA) received her Bachelor of Arts degree at Harvard College, Cambridge, MA in 2003 and her Masters of Fine Art degree at the California Institute of the Arts, Los Angeles, CA in 2008. Recent solo exhibitions include “Open House,” presented by The Public Art Fund at Doris C. Freeman Plaza, New York, NY, and “The Myth of Singularity, Los Angeles County Museum of Art, Los Angeles, CA. Her most recent project, The Archaeology of Another Possible Future," a seven-part installation spread across 20,000 square feet, is currently on view at MASS MoCA in North Adams, MA. Her work has been included in group exhibitions at venues including the Barbican Center, London UK; the New Museum, NYC; MoCA, Los Angeles; the Petit Palais, Paris; Kunstlerhaus Halle der Kunst & Medien, Graz, Austria; and the Hammer Museum, Los Angeles. Glynn's work is included in public collections of the Hammer Museum, Los Angeles; Los Angeles County Museum of Art; Fondazione Sandretto Re Rebaudengo, Turin, Italy; and Getty Research Institute, Los Angeles. Glynn lives and works in Los Angeles, and is also represented by Paula Cooper Gallery, New York, NY. Her first solo exhibition at the gallery is forthcoming.

Vielmetter Los Angeles congratulates Mary Kelly on the acquisition of her archive by the Getty Research Institute (GRI). The archive not only includes research, documentation and ephemera related to works created between 1968 and 2014 but also Kelly’s collections of Marxist, feminist, and political journals, pamphlets and flyers collected during her time in London and Beirut. Notable projects include Post-Partum Document (1973-79), Interim (1984-89) and Gloria Patri (1992). All documentation will be catalogued and made available to the public by the GRI.

Vielmetter Los Angeles congratulates Pope.L on receiving this year’s Bucksbaum Award.

Established in 2000 by longtime Whitney Museum of American Art trustee Melva Bucksbaum and her family, the Bucksbaum Award recognizes an artist included in the Whitney Biennial “who has previously produced a significant body of work, whose project for the Biennial is itself outstanding, and whose future artistic contribution promises to be lasting.”

Vielmetter Los Angeles is pleased to announce its representation of Angel Otero. The artist's inaugural exhibition with the gallery will open in November 2014.

Angel Otero (b. 1981, Santurce, Puerto Rico; lives and works in Brooklyn, New York) is a visual artist best known for his process-based paintings. Through his innovative process of oil paint scraping, Otero venerates historical oil painting while confronting it head on. Otero's "deformation" approach to painting his works, first across glass and then once dry, flaying the dried paint and reconstructing the composition anew across large canvases, is representative of how the artist perceives the process of reconfiguring both personal and historical narratives. Otero’s work sometimes uses process as a way of confronting deep, personal memories. Instead of representing his life through art, he archives moments within it by creating opportunities of surprise and discovery. His work is a constant negotiation between the individual and art history.